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DTSTART;VALUE=DATE:20210222
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SUMMARY:Spencer Sweeney: Queue
DESCRIPTION:“When I’m painting\, I often become very involved with these different personalities that come about. . . . It’s an automatic process of a personality that comes from the motion of my hand and from my imagination.”\n—Spencer Sweeney \nGagosian is pleased to present Queue\, an exhibition of new paintings by Spencer Sweeney. \nSweeney’s imagery is centered on the human figure\, ranging from semiabstract reclining nudes to surreal\, ambiguously gendered self-portraits. Conveying intense emotion through lively color and deft handling of paint\, his art maps the physical and psychological spaces occupied by the body. \nIn his paintings\, Sweeney moves among art historical references\, emulating the enigmatic tone and audacious palette of Surrealist and Russian Expressionist figures such as Alexej von Jawlensky. Deriving further inspiration from the drive of jazz improvisation\, Sweeney allows faces and encounters from his subconscious to rise to the surface as he paints. The resulting works\, which he describes as having been created through an instinctive\, “automatic” process\, are abstract topographies and dreamscapes as much as they are traditional portraits. Surpassing the simple objective recording of their subjects\, they chart the subjective interiorities of the human psyche. \n\nIn a series of new paintings made in his Manhattan studio over the past year\, Sweeney turns his attention to the human face\, enlarging the head beyond life-size. This body of work unites the artist’s psychological musings with images of contemporary urban life. Hung closely around the Davies Street gallery\, the pictures capture the experience of encountering a diverse group of strangers waiting outside at a nightclub\, bus stop\, or clinic. Queue will be fully visible through the gallery’s large windows from 8am to 8pm daily\, allowing Sweeney’s vibrant portraits to gaze back at viewers and passersby. \nThese are portraits that push the limits of figuration\, reducing each facial feature to a set of geometric forms and free-flowing lines\, all rendered in distinctive impasto. Some evoke theatrical masks or makeup: one has the plaintive furrowed brows of a mask from a Greek tragedy; another\, painted in high contrast with stark crimson shadows\, conjures both the whiteface of Pierrot and the smoothly inscrutable visages of Noh theater. Certain images—such as a darkened left eye\, or a triangular nose outlined in vivid red and pink—resurface in multiple instances throughout Queue\, challenging various notions of social identity and individuality. \n\nImage:\nSpencer Sweeney: Queue\, exterior view\, 2021\n© Spencer Sweeney\nPhoto: Lucy Dawkins\nCourtesy Gagosian
URL:https://artinamericaguide.com/event/spencer-sweeney-queue/
LOCATION:Gagosian Davies Street\, London\, 19 Davies St\,\, London\, Mayfair\, W1K 3DE\, United Kingdom
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20200117
DTEND;VALUE=DATE:20200308
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SUMMARY:LIVE IN YOUR HEAD | Richard Artschwager’s Cabinet of Curiosities
DESCRIPTION:LIVE IN YOUR HEAD\nRichard Artschwager’s Cabinet of Curiosities\nJanuary 17–March 7\, 2020 \n“There isn’t any art until some creature sees and consumes it. And has a reaction”.\n—Richard Artschwager \nGagosian is pleased to present Live in Your Head: Richard Artschwager’s Cabinet of Curiosities\, an exhibition spanning the five decades of Artschwager’s career\, and his first in London since 2003. \nLive in Your Head was conceived specifically in response to the Davies Street gallery space\, with its wide plate glass window giving on to a busy Mayfair thoroughfare. The installation will be visible from the street\, its components arranged like objects in a Joseph Cornell box. It also recalls a sixteenth-century Wunderkammer\, or cabinet of curiosity—a collection of specimens\, relics\, and other marvels that was displayed as a microcosm of its owner’s knowledge and experience. Artschwager studied science and mathematics at Cornell University in Ithaca\, New York before and after serving as an intelligence officer in the Second World War. In making art\, he revealed an empirical fascination with artifacts both extraordinary and banal\, deriving surreal results from everyday sources\, whether through shifts in scale or transpositions of forms from one material to another. \nThe exhibition is named for a sculpture titled Live in Your Head (2002) that is itself a reference to Harald Szeemann’s paradigmatic 1969 group exhibition of the same title\, in which Artschwager participated. Live in Your Head: When Attitudes Become Form upended fixed ideas about the art of the time—namely\, the relationship between artist\, viewer\, space\, and curator. Artschwager’s work engages and activates the environment it inhabits\, often guiding viewers’ attention to the discreet or overlooked. His signature blps—visual ciphers that are introduced into locations both indoor and outdoor at wildly varying scales—animate spaces that are habitually forgotten or unused\, such as corners and crannies\, or even the upper reaches of a Manhattan smokestack. Bristle Corner (1995) functions in a similar way to the blps\, in three dimensions\, its appearance shifting according to one’s viewpoint. In Walker (1964)\, Artschwager redacted the familiar stabilizing aid into a geometric sculpture totally detached from function. In Klock (1989)\, a small timepiece is set into a wooden body with winglike protrusions—a playful embodiment of the idiom “time flies”—while the sculptures Exclamation Point (Yellow) (2001) and Pregunta II (1983) render punctuation—the idea of a grammatical figure designed to literally interrupt space and time—as primary form and content. \nAssociated with many genres but cleaving to none\, Artschwager’s art has been variously described as Pop\, due to its derivation from utilitarian objects and its incorporation of commercial and industrial materials; Minimal\, owing to its geometric forms and solid presence; and Conceptual\, because of its cerebral detachment. Focusing on the structures of perception\, and conflating the visual world of images (painting) with the tactile world of objects (sculpture)\, his inspirations and points of departure range from counterintelligence to cabinetry. \nA retrospective of Artschwager’s work curated by Germano Celant opened at Museo di arte moderna e contemporanea di Trento e Rovereto\, Italy\, in October 2019\, and will travel to the Guggenheim Museum Bilbao\, Spain\, in February 2020. \n\nCaption:\nRICHARD ARTSCHWAGER\nExclamation Point (Yellow)\, 2001\nPlastic bristles\, mahogany\, and latex\, in 2 parts\nOverall: 65 x 22 x 22 in\n165.1 x 55.9 x 55.9 cm\nEdition of 3\n© 2019 Richard Artschwager/Artists Rights Society (ARS)\, New York\nPhoto: Rob McKeever\nCourtesy Gagosian
URL:https://artinamericaguide.com/event/live-in-your-head-richard-artschwagers-cabinet-of-curiosities/
LOCATION:Gagosian Davies Street\, London\, 19 Davies St\,\, London\, Mayfair\, W1K 3DE\, United Kingdom
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20190819
DTEND;VALUE=DATE:20190922
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SUMMARY:Taryn Simon | A Burn Scar Visible from Space
DESCRIPTION:TARYN SIMON\nA Burn Scar Visible from Space\nAugust 19–September 21\, 2019 \nGagosian is pleased to present A Burn Scar Visible from Space\, photographs from Taryn Simon’s ongoing series Black Square\, begun in 2006. \nPink and yellow slips of paper announce the results of the ballot count in Haringey\, London\, for the European Union membership referendum; a billion-dollar Zimbabwean banknote marks the rapid decline of the nation’s currency; an empty 80-foot pedestal in New Orleans recalls the sanctioned removal of a statue of Confederate army commander Robert E. Lee by a crew wearing bulletproof vests; a charred palm tree\, brought to California from the Canary Islands to populate large residential estates\, has both fueled and survived a devastating wildfire; a Picturephone from 1964\, deemed unnecessary at the time of its release\, is an obsolete prototype for present-day video communication; and the dark power of 3-D printing is made clear with a gun named The Liberator\, the plans for which can be downloaded by anyone with a Wi-Fi connection. \nIn the Black Square photographs\, Simon presents objects\, documents\, and individuals in a black field given the same dimensions as Kasimir Malevich’s 1915 painting of the same name. Selected without any intentional categorization\, Simon’s subjects form a randomized index of human invention and activity. They are fragments of recent history—detached from context and freighted with anxiety. \nIn 1915\, World War I was far from over. Chlorine gas was used as a war weapon for the first time. Pluto was photographed\, though not yet discovered. It was the eve of the October Revolution. Malevich described his work—a thickly painted black square\, set within a white border—as the “icon of [his] era\,” an eclipse for the modern gaze. This description set his painting in direct opposition to (or\, perhaps\, in alignment with) popular religious icons. \nIn 2019\, icons are to be found not only in a church’s candlelit interior: political leaders\, scientists\, and activists are icons; the apps and logos on our phone screens are icons. In a mutating echo of Malevich’s Black Square\, every major cellular device and digital platform has its own version of a black square emoji\, but none agree on what it represents. \nWitnesses to both ingenuity and mortality\, most of the objects in Simon’s photographs will outlive us all. This is especially true for Black Square XVII\, an 80-by-80-by-80-cm cube containing a mass of vitrified nuclear waste that will remain in Russia’s State Atomic Energy Corporation until the year 3015\, when it will finally be safe for human observation. Charged with the uncertainties of the future\, Simon’s black squares reveal what we have done\, and ask what we’ll do next. \n\nImage credit: \nTARYN SIMON\nBlack Square XXIII. Phoenix canariensis\, a date palm native to\nthe Canary Islands\, is an invasive species in the state of\nCalifornia. The Los Angeles County Fire Department lists\nPhoenix canariensis as a fire hazard that should be removed\nfrom the vicinity of structures. The scale and severity of\nCalifornia’s fires have escalated markedly since the 1980s due\nto overgrowth resulting from aggressive fire suppression\ntactics\, climate change\, and increased residential construction\nin forested areas. The Woolsey Fire\, which began on\nNovember 8\, 2018\, burned 96\,949 acres of land in Los\nAngeles and Ventura counties\, leaving a burn scar that is\nvisible from space.\, 2019\nArchival inkjet print\n31 3/4 x 31 3/4 in\n80.6 x 80.6 cm\n© Taryn Simon\nCourtesy Gagosian
URL:https://artinamericaguide.com/event/taryn-simon-a-burn-scar-visible-from-space/
LOCATION:Gagosian Davies Street\, London\, 19 Davies St\,\, London\, Mayfair\, W1K 3DE\, United Kingdom
CATEGORIES:Exhibition
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